Update to the performing edition of THE UNFORTUNATE TRAVELLER by Imogen Holst

I have been delighted that my performing edition of this lovely work, which Imogen Holst composed in 1929 as a student at the Royal College of Music in London, continues to be in demand by brass bands all over the world. Its engaging folk melodies and lively dance measures, inspired by her father Gustave’s A Moorside Suite, sit very comfortably on the brass band.

In 2024 I issued a small document of amendments that have been picked up by performers since its first publication. Having completed a performing edition of the composer’s arrangement for string orchestra in 2025, further issues have come to light, including some revisions by Holst to her text.

A full list of amendments is given below. These have been incorporated into a revised edition, which is being made available to all those who have purchased the set directly from PHM Publishing & Production.

I. INTRODUCTION

1. At the start, the soprano cornet should have seven bars rest, plus the up-beat.
2. Bar 14: Solo horn – add crotchet F, first space, followed by D minim below bottom line, slurred, pp.
3. Bar 17: Bflat bass – add crotchet A, top line, followed by minim C, second space. A new part is
4. Bars 23 to 25: delete 1^st and Bass trombone phrases. Transfer the latter to one Eflat bass.
5. Bars 27 and 28: 1^st Trombone – amend quaver sequence to E-D-D-D-A-A; 2^nd Trombone – C-Bb-A-G-A-F; Add crescendo hairpin to baritones to match horns.
6. Bar 28: 1^st Baritone – amend to crotchet rest-D-C-D-F quavers – crotchet D tied across the bar into 29.
7. Bars 37 and 38: Soprano cornet play lower octave E’s
8. Bar 40: 2^nd and 3^rd Cornets  – add mp.

II. SCHERZO

9. Add ‘staccato’ instruction to the quaver patterns – basses, euphoniums, baritones, horns,
          
10. Bar 27: Solo and Repiano cornets – final quaver is an E not F#.
11. Bar 29: remove Soprano cornet quaver
12. Bars 32 and 36: Flugel horn players F-G-F quavers not F-F-F (composer’s 1930 revision)
13. Bar 33: 2^nd trombone duplet is G – E (not F).
14. Bar 34: Horns – all dotted crotchets tied across the bar.
15. Bar 36: Horns – repeat quaver Cs (not C-D).
16. Bars 66 and 67: Amend trombone and Eflat bass dotted crotchets as follows,
    1^st Trombone: A-G-A-F; 2^nd Trombone: F-Eb-F-Db; Bass Trom: Bb-Ab-Bb-Gb; Eflat Bass: Bb-F- Bb-Eb.
17. Bar 82: 1^st Trombone scale is E-D-C-B-A-G.
18. Bars 84 and 87: Flugel horn players Eb-F-Eb quavers not three Eb’s (composer’s 1930 revision)
19. Bars 105 – 114: Repiano should double 2^nd Cornet (for balance).
20. Bar 124: add f at the beginning of the bar.      

III. INTERLUDE

21. Bars 11 to 15: Bass parts have been amended reflecting more closely the composer’s final
    intentions (see revised score, p. 30)
22. Bar 17: 1^st Trombone – D-E ; 2^nd Trombone – Bb-C.
23. Bar 27: Meno mosso – Bflat bass quaver should be Bb and Bass trombone quaver should be Ab.
24. Bar 31: add slur to first three notes of BB flat bass
25. Bar 37: slur on 2^nd Baritone across all four
26. Bar 39: slur on BB flat basses across all four Tutti basses should start here.
27. Bars 44 to 47: Flugel, 2^nd Trombone and Bass parts have been amended to reflect the composer’s second thoughts (see revised score p. 36).

IV. MARCH

28. Bar 57: 2^nd Trombone slur across all four beats of the
29. Bars 67 to 73: remove Bass trombone.
30. Bars 91 – 93: Side drum should match the cornet rhythm and ignore the strange New part is available.
31. Bars 93 to 96: Flugel and 1^st Baritone – restoration of missing phrase (see revised score, p. 52.)
32. Bar 103: scoring of upbeat to EE revised, due to a miss-read in the first edition. (see revised score p. 53).
33. Bar 109: Horns – amend to C-A-E; Bass trombone – change to C;  Euphoniums – amend to D-A; Eflat Basses to A and Bflat Basses to D.

This full list of amendments is also listed on my website and available via the above email address.

PAUL HINDMARSH, September 2025.